Rodrigo Valenzuela: New Works for a Post Worker’s World to Open at BRIC in September

 

 

 

Rodrigo Valenzuela, Weapon #30. Image courtesy of the artist and Asya Geisberg Gallery; Documentation Max Cleary

Rodrigo Valenzuela will construct an architectural setting for his photographs in the Gallery at BRIC House that will symbolically evoke issues arising from his imagery. This sculptural aspect to the exhibition will itself reflect the artist’s own labor, and harken back to his experience as a construction worker upon his arrival as an immigrant in the United States. In addition to photography, the exhibition will also include a new video and series of sculptures by the artist. The exhibition will be accompanied by public programs and by an illustrated catalogue with an essay by curator Elizabeth Ferrer. On view September 22, 2022.

Valenzuela works across photography, sculpture, installation, and video to construct scenes that function simultaneously as documents and fictions, and that reflect his ongoing interests in examining industrial and post-industrial concepts of work and the contemporary realities of laborer. For his photographs, he constructs elaborate tableaux out of urban detritus, much of it found in scrap yards, such as cinder blocks, pipes, wooden palettes, corrugated metal, and two-by-fours. The resulting large-scale black-and-white photographs resemble miniature ruins, images that feel familiar yet distant, and that suggest spaces of abandonment, alienation, and displacement. Simultaneously, these compositions reference certain aspects of Modernism, sometimes recalling American Abstract-Expressionist painting or Latin American Brutalist architecture.

Rodrigo Valenzuela, Weapon #41. Image courtesy of the artist and Asya Geisberg Gallery; Documentation Max Cleary.

Much of Valenzuela’s work acts as a critique of postcapitalism, social decline, and systems of oppression and authority. In the two series of photographs to be exhibited at BRIC House, Afterwork and Weapons, he conjures a post-worker’s world, as he speaks to the elimination of the individual laborer (and of their dignity and value) and imagines a workforce supplanted by the machines of automation, or engines that no longer require an operator and that rage when no one is watching.

In the industrial era, workers themselves were treated as engines, their bodies valued as the capital necessary to forge steel mills, operate steam engines, and so on. Some of these photographs have a sinister edge, embodied by the threat of metal chains and hooks, while others are delicate, almost sympathetic. The smoke in Valenzuela’s imagery invokes the blazing steam and white heat of steel in the process of formation, but also the perspiration of labor, suspended in air as if evidence of the now-absent worker. In these depopulated spaces, Valenzuela asks us to think about our contemporary reality, of workers dispossessed due to automation, workers who struggle to unionize, and essential workers who have endured unsafe conditions during the time of the pandemic. While viewers are left to posit their own narratives, the artist himself suggests that perhaps the workers have all left, some to strike, others to abandon their jobs altogether.

About the Artist – Rodrigo Valenzuela (Born in 1982, Santiago, Chile; based in Los Angeles, CA) has presented solo exhibitions at the New Museum and Asya Geisberg Gallery, both NY; Light Work, Syracuse, NY; University of South Florida, Tampa, FL; Santa Cruz Museum of Art and History, CA; Orange County Museum of Art, Santa Ana, CA; Museum of Art and History, Lancaster, CA; Luis de Jesus, Los Angeles, CA; Jordan Schnitzer Museum of Art, Eugene, OR; and the Portland Art Museum and UPFOR, both Portland, OR. He has participated in group exhibitions at The Kitchen, The Drawing Center, Wave Hill, and CUE Art Foundation, all NY; Museum of Contemporary Art North Miami, FL; Bemis Center for Contemporary Arts, Omaha, NE; Frye Art Museum, Seattle, WA; and The Museum of Fine Arts, Houston, TX, among others. He has also exhibited his work in solo shows internationally at Arróniz Arte Contemporáneo, Mexico City; Peana Projects, Monterrey, Mexico; Galería Patricia Ready and Museo de Arte Contemporàneo, Universidad de Chile, Santiago, Chile; and Galerie Lisa Kandlhofer, Vienna, Austria.

Valenzuela has participated in residencies at Dora Maar, Fountainhead, Light Work, MacDowell, Glassell School of Art, Bemis Center for Contemporary Arts, Kala Art Institute, Vermont Studio Center, Center for Photography at Woodstock, and the Skowhegan School of Painting and Sculpture. He is the recipient of the 2021 John Simon Guggenheim Memorial Foundation Fellowship in Photography, the Smithsonian Artist Research Fellowship, and the Joan Mitchell Fellowship. His work is included in numerous public and private collections, including those of the Whitney Museum of American Art, J. Paul Getty Museum, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, The Nelson-Atkins Museum of Art, Frye Art Museum, Tacoma Art Museum, and The Center for Photography at Woodstock. He is an Associate Professor and Head of the Photography Department at UCLA. Valenzuela received his BFA in Art History and Photography from the University of Chile, his BA in Philosophy from Evergreen State College, and his MFA in Photo/Media from the University of Washington.

Rodrigo Valenzuela: New Works for a Post Worker’s World will be on view from September 22 through December 23, 2022 at Gallery at BRIC House, 647 Fulton Street (Enter on Rockwell Place) Brooklyn, NY. Opening Reception to be held on Wednesday, September 21st from 79pm ~ attend with RSVP.

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